Tag: Country

WATCH: Lyle Lovett, “Teach Me About Love” (From ‘Austin City Limits,’ 1997)

Posted on by Editor

Artist: Lyle Lovett
Hometown: Klein, Texas
Song: “Teach Me About Love”
Album: Mighty Fine: An Austin City Limits Tribute to Walter Hyatt
Release Date: October 1, 2021
Label: Omnivore Recordings

Editor’s Note: This Lyle Lovett performance of Walter Hyatt’s “Teach Me About Love” was filmed in 1997 for Austin City Limits as part of a tribute to Hyatt, who was killed in a 1996 plane crash. Cut from the episode due to time constraints, the performance has been unseen until now, coinciding with the release of the full concert on CD and digital, titled Mighty Fine: An Austin City Limits Tribute to Walter Hyatt. Four unheard Hyatt recordings also appear on the album.

In Their Words: “Walter Hyatt is one of the most creative souls to come out of the Austin music scene in the past two decades. Although raised in Spartanburg, S.C., and spent his last years in Nashville, he represented the spirit of Austin. An artist of personal vision, original style and artistic integrity. During the late ‘70s and ‘80s, Uncle Walt’s Band developed a strong loyal following in Austin thanks to their expressive blend of music styles, songs that were street smart, energetic, honest, and inspirational to a lot of younger singer-songwriters like me. Walter Hyatt explored many styles – New Orleans jazz, country honky-tonk, with a bit of Elvis and course Bob Wills. His dry sense of humor made him very special in the eyes of fans and critics. His death was a personal loss for those of us who knew him, and for anyone who ever heard his music. This program is a celebration of extraordinary music by an extraordinary man with a gift for reaching hearts and minds of so many people.” — Lyle Lovett

Better Late Than Never, David “Ferg” Ferguson Debuts ‘Nashville No More’

Posted on by Editor

As the go-to producer for some of Nashville’s most enigmatic roots talents, David Ferguson is what you’d call a behind-the-board legend. The studio savant known simply as “Ferg” started out as a protégé of producer and eccentric tape-splicer Cowboy Jack Clement and went on to become Johnny Cash’s favored engineer during his late-career resurgence. More recently, Ferguson has been imparting his old-school wisdom on tastemakers like Sturgill Simpson and Margo Price, while on his own debut album Nashville No More, he puts decades of knowledge to work once more.

With 10 songs full of classic charm and creative whimsy, it’s a loose-feeling project of tunes Ferg’s been falling in love with (and recording for himself) for years, molded into an album during the pandemic doldrums. A rotating cast of Nashville A-listers like Kenny Vaughan, Sierra Hull, Justin Moses, Jerry Douglas, Stuart Duncan, Béla Fleck and Tim O’Brien helped him flesh it out, presenting gruff vocals with tender, honest reverence for the lost art of record-making. In the end, it sounds like a love letter to his life’s work – and maybe the last hurrah of a creative culture.

BGS: So we’ll start with obvious question: Why did you want to make your own record, after so many years of helping others make theirs?

David Ferguson: Well, I’ve really always been a musician at heart. But this one fell into my lap over the pandemic. I had to shut down my studio, the Butcher Shoppe, in Nashville because they sold the buildings. So I set up a control room and an overdub room at my house, then the pandemic came along and there wasn’t much work. I started digging around in my recordings from over the years, got ‘em out and started seeing what I could do. That’s kind of how it came together. I really was just putting it together for family. Like, I was just gonna give it to my mom.

That’s interesting, because I think some people might assume you’ve been wanting to do this your whole life, but it sounds more spur of the moment.

Yeah, it’s a little late in life for me to be launching a solo career. [Laughs] But it’s fun to have one coming out and I’ve got a lot of time on my hands.

It might be late to get started, but you’ve had good teachers. Working with people like Cowboy Jack and Johnny Cash, and more recently Sturgill and Margo, what have you learned about being an artist?

To try to be humble. Even doing interviews, it’s hard to talk about yourself. Somebody who enjoys sitting and talking about themselves, there’s something a little bit wrong with them. I think being humble is a great lesson. Johnny Cash was a very humble man, very humble. So I think that — and trying to be kind to people. And don’t take it for granted, because even if something does happen, it may never happen again. You gotta appreciate what you’ve got.

The people you’ve been known for working with, they’re all artists of very strong vision – ones who didn’t compromise their art. Why are you drawn to people like that?

That’s a good question. I don’t know that I am particularly drawn there, maybe it’s just kind of the way it happened. Stuff comes your way and you have to grab the opportunity if it comes. You’ve gotta be ready to make a fool of yourself if you have to, and learn to grow from mistakes. I made a whole lot of records on a whole lot of people that weren’t any good – tons of them! Not everything you’re gonna do is good. But you do your best for the amount of time or money you have.

I always tried to do my very best. I was a fast engineer and got it going quick, because I didn’t want to waste people’s money. It’s hard to come by, and to get to make a record in a studio is a special thing. It used to be a really special thing. Now anybody can make a record. You can make one in your own house. But back in the day when I started, being able to have the money and resources to go in and record an album was a big deal. I still look at it as a big deal.

I think that comes through on your record.

Thank you, man, I tried not to cut any corners. I could have, and used keyboard strings, things like that. But I had real ones. I tried to do it as real as I could do it.

Did you record this the way you would have back in the day?

Yeah. Everybody’s recording on the Pro Tools format, but I can still fire up a tape machine, I’m not afraid of it. It’s just not economically feasible anymore. And plus, people don’t realize, they always used to say, ‘Oh, tape machines sounded great.’ And it’s true. They did and they still do, but you still wind up with a 16-bit CD. Unless you’re listening to it off the tape machine or on a vinyl record, or some super high resolution format, it’s just not gonna make very much difference.

Tell me about the title you chose. You’re from Nashville and have seen how it’s changed. How did you end up with the title Nashville No More? The whole thing has a kind of weary feel to it.

[Laughs] You know it’s not really a bummer. A lot of them are actually love songs. Like “Chardonnay” is a love song to wine. And then “Looking for Rainbows,” it’s kind of a sad song about love. … Nashville No More means a lot to me, because the Nashville that I used to know is no more. I’m not saying that’s a bad thing, it’s just that things evolve, and Nashville has really evolved. The music has evolved into an unlistenable thing to me. Modern country music, to me, is really difficult to listen to. Top 10 radio, it’s not for me. And I know some of those people who are on those channels, those singers, and I really like ‘em. I’m not saying anything bad about their music or anything … I’m really happy for their success, but it’s not the kind of stuff I’m gonna listen to.

Margo Price is featured on “Chardonnay,” and that has such a lovely sway to it. Where did that track come from?

That was written by my friend Roger Cook, and some years ago I made a demo of him doing the song, and I found it like ‘Jeez, where has this song been? I love this!’ … I finished it up with some real players on it, re-sung a couple of lines here and there and then sent it to Margo, and she said, ‘God, I love that song so much.’ She graciously came over and hung out for the afternoon and sung on that and “Looking for Rainbows.” Margo’s a real sweetheart and she doesn’t live far from me. The other person on there is Harry Stinson. He sings harmony, too, and Harry is in the Fabulous Superlatives. Harry’s singing on “Four Strong Winds,” too. He can blend right in there.

I love that you start off with “Four Strong Winds,” which is such a tender song. The first thing you hear is this gentle piano and a loping drum beat. Why start with that sound?

The album was totally sequenced … and it started off just exactly the opposite of what it is now. It started off with number six being number one, and we swapped the A side and B side.

Really?

That’s an old record trick I learned from Jack Clement and Johnny Cash.

What’s the benefit there?

It just kind of takes the obvious away, and that’s good. I’ve done that on more than one record for the years, and I’ve seen Jack Clement do it a few times. It’s a strange thing, but I mentioned to the guys, “Jack used to sequence it out A and B, then a couple of days later he’d be like, ‘You know, B oughta be A, I think.'” And it works!

You end on “Hard Times Come Again No More.” What’s the message in that ending?

Like I said before, that would have been number five, and we swapped it around. But it just seemed like a natural song to go out with. Sierra and Justin were kind enough to show up on that, and I think she’s just a major talent. Probably one of the most talented people I’ve ever met. She’s got the touch, and she’s not one to nitpick stuff. If you say you’re happy, she says, “OK, let’s move on.” She won’t just wear you out with it.

What was it like trying to produce your own songs, though? Is it hard to be critical of yourself?

It’s nearly impossible. Anybody you talk to who sings or even talks for a living, there’s hardly anything more painful than listening to yourself back. It’s as painful to a singer and artist as it is to anybody — unless they have an ego the size of [spreads his arms wide]. But you get in a situation where you have to be critical, so I learned how to do it on this record. I figured it out.

Photo credit: Scott Simontacchi

From “Ghost in This House” to “O Death,” Our 13 Favorite Boo-Grass Classics

Posted on by Justin Hiltner

Ah! There’s a chill in the air, color in the leaves, and a craving for the spookiest songs in bluegrass — it must be fall. Bluegrass, old-time, and country do unsettling music remarkably well, from ancient folk lyrics of love gone wrong to ghost stories to truly “WTF??” moments. If you’re a fan of pumpkins, hot cider, and murder ballads we’ve crafted this list of 13 spooky-season bluegrass songs just for you:

The Country Gentlemen – “Bringing Mary Home”

THE bluegrass ghost story song. THE archetypical example of “What’s that story, stranger? Well, wait ‘til you hear this wild twist…” in country songwriting. (Yes, that’s a country songwriting archetype.) The Country Gentlemen did quiet, ambling — and spooky — bangers better than anybody else in bluegrass.

Cherryholmes – “Red Satin Dress”

Fans of now-retired family band Cherryholmes will know how rare it was for father and bassist Jere to step up to the microphone to sing lead. His grumbling, coarse voice and deadpan delivery do this modern murder ballad justice and then some. 

One has to wonder, though, with so many songs about murderous, deceitful women in bluegrass — the overwhelmingly male songwriters across the genre’s history couldn’t be bitter and misogynist, could they? Could they?

Zach & Maggie – “Double Grave”

A more recent example of unsettling songwriting in bluegrass and Americana, husband-and-wife duo Zach & Maggie White give a whimsical, joyful bent to their decidedly creepy song “Double Grave” in the 2019 music video for the track. Just enough of the story is left up to the imagination of the listener. Feel free to color inside — or outside — of the lines as you decide just how the song’s couple landed in their double grave. 

Alison Krauss – “Ghost in This House”

Come for the iconic AKUS track, stay for the impeccable introduction by Alison. Equal parts cheesy and stunning, if you haven’t belted along to this song at hundreds of decibels while no one is watching, you’re lying. Not technically a ghost story, we’re sliding in this hit purely because a Nashville hook as good as this deserves mention in a spooky-themed playlist.

The Stanley Brothers – “Little Glass of Wine”

Ah, American folk music, a tradition that *checks notes* celebrates the infinity-spanning, universe-halting power of love by valorizing murdering objects of that love. Kinda makes you think, doesn’t it? Here’s a tried and true old lyric, offered by the Stanley Brothers in that brother-duet-story-song style that’s unique to bluegrass. What’s more scary than an accidental (on purpose) double poisoning? The Stanley Brothers might accomplish spooky ‘grass better than any other bluegrass act across the decades.

Missy Raines – “Blackest Crow”


A less traditional rendering of a folk canon lyric, Missy Raines’ “Blackest Crow” might not feel particularly terrifying in and of itself, but the dark imagery of crows, ravens, and their relatives will always be a spectre in folk music, if not especially in bluegrass. 

Bill Monroe – “Body and Soul”

The lonesome longing dirge of a flat-seven chord might be the spookiest sound in bluegrass, from “Wheel Hoss” to “Old Joe Clark” to “Body and Soul.” A love song written through a morbid and mortal lens, you can almost feel the distance between the object’s body and soul widening as the singer — in the Big Mon’s unflappable tenor — objectifies his love, perhaps not realizing the cold, unfeeling quality of his actions. It’s a paradox distilled impossibly perfectly into song.

Rhiannon Giddens – “O Death”

Most fans of roots music know “O Death” from the O Brother, Where Art Thou? soundtrack and the version popularized by Ralph Stanley and the Stanley Brothers. On a recent album, Rhiannon Giddens and Francesco Turrisi reprise the popular song based on a different source — Bessie Jones of the Georgia Sea Island Singers.

The striking aural image of Stanley singing the song, a capella, in the film and on the Down from the Mountain tour will remain forever indelible, but Giddens’ version calls back to the lyrics’ timelessness outside of the Coen Brothers’ or bluegrass universes and reminds us of just how much of American music and culture are entirely thanks to the contributions of Black folks.

Johnson Mountain Boys – “Dream of a Miner’s Child”

Mining songs are some of the creepiest and most heartbreaking — and back-breaking — songs in bluegrass, but this classic performance from the Johnson Mountain Boys featuring soaring, heart-stopping vocals by Dudley Connell, casts the format in an even more blood-chilling light: Through the eyes of a prophetic, tragic dream of a miner’s child. The entire schoolhouse performance by the Johnson Mountain Boys won’t ever be forgotten, and rightly so, but this specific song might be the best of the long-acclaimed At the Old Schoolhouse album. 

Oh daddy, don’t go to the mine today / for dreams have so often come true…

Emmylou Harris, Alison Krauss, Gillian Welch – “Didn’t Leave Nobody But the Baby”

A lullaby meets a field holler song on another oft-remembered track from O Brother, Where Art Thou? The disaffected tone of the speaker, in regards to the baby, the devil, all of the above, isn’t horrifying per se, but the sing-songy melody coupled with the dark-tinged lyric are just unsettling enough, with the rote-like repetition further impressing the slightly spooky tone. It’s objectively beautiful and aesthetic, but not… quite… right… Perhaps because any trio involving the devil would have to be not quite right? 

AJ Lee & Blue Summit – “Monongah Mine” 

Another mining tale, this one based on a true — and terrifying — story of the Monongah Mine disaster in 1907, which is often regarded as the most dangerous and devastating mine accident in this country’s history. AJ Lee & Blue Summit bring a conviction to the song that might bely their originating in California, because they make this West Virginia tale their own.

Jake Blount – “Where Did You Sleep Last Night”

“In the Pines” is one of the most haunting lyrics in the bluegrass lexicon, but ethnomusicologist, researcher, and musician Jake Blount didn’t source his version from bluegrass at all — but from Nirvana. That’s just one facet of Blount’s rendition, which effortlessly queers the original stanzas and adds a degree of disquieting patina that’s often absent from more tired or well-traveled covers of the song. A reworking of a traditional track that leans into the moroseness underpinning it.

The Stanley Brothers – “Rank Stranger”

To close, we’ll return to the Stanley Brothers for an often-covered, much-requested stalwart of the bluegrass canon that is deceptively terrifying on closer inspection. Just who are these rank strangers that the singer finds in their hometown? Where did they come from? Why do none of them know who this person or their people are? Why are none of these questions seemingly important to anyone? Even the singer himself seems less than surprised by finding an entire village of strangers where familiar faces used to be. 

For a song so commonly sung, and typically in religious or gospel contexts or with overarchingly positive connotations, it’s a literal nightmare scenario. Like a bluegrass Black Mirror episode without any sort of satisfying conclusion. What did they find? “I found they were all rank strangers to me.” Great, so we’re right back where we started. Spooky.

WATCH: Brooke Law, “Millionaires” (Feat. Andy Jordan)

Posted on by Editor

Artist: Brooke Law
Hometown: London, England
Song: “Millionaires” (featuring Andy Jordan)
Release Date: September 24, 2021
Label: Archetypes Music

In Their Words: “‘Millionaires’ is really special to me. It’s also my dad’s favourite song of mine. I wrote it with the first person I ever fell in love with and we were best friends. We always wished we’d be playing the song to millions of people. 🤣 ‘Millionaires’ is about a couple who are struggling to make things work without having a lot of security, but as long as they have each other and have love they can still dream.” — Brooke Law

Photo credit: Lou Morris Photography

WATCH: The Royal Hounds, “Pickin’ in the Graveyard”

Posted on by Editor

Artist name: The Royal Hounds
Hometown: Nashville, Tennessee
Song: “Pickin’ in the Graveyard”
Album: Whole Lot of Nothin’
Release Date: October 15, 2021

In Their Words: “When I was learning to play bass, I used to go to a bluegrass festival called Old Timer’s Day. It was next to a graveyard. There were so many pickers that many groups would spill over into the graveyard and have pickin’ circles out there. I always loved the idea for a song called ‘Pickin’ in the Graveyard.’ Up the street from where I live is Spring Hill Cemetery. Lots of notables are buried there: Roy Acuff, Earl Scruggs, Jimmy Martin, Floyd Cramer, Kitty Wells, Hank Snow, and my favorite, John Hartford. I just love the notion that the ghosts of the musicians in this graveyard come out at night and have a grand pickin’ party. The final verse is kind of an homage to John Hartford. In the song, I say, ‘Lower me down in a Batman cloak/ we’ll all ride to heaven in a river boat.’ This is a reference to the fact that Hartford was accidentally buried in a Batman cloak and he had a lifelong fascination with river boats. He even had a license to sail them.” — Scott Hinds, The Royal Hounds

Photo credit: Bill Foster

The Show on the Road – Asleep at the Wheel (Ray Benson)

Posted on by Shelby Williamson

This week on The Show On The Road, we bring you a talk with the half-century-spanning, Grammy-winning ringleader of one of American roots music’s most durable and iconic bands, Ray Benson of Asleep at the Wheel. The episode is a celebration of their fifty years of diligent song collecting, Western swing camaraderie, and epic genre-spanning collaboration — and features first listens of their new record, Half a Hundred Years, which drops on October 1. The record covers old classics and tells new stories, with spritely cameos from fellow Texans Lyle Lovett and Willie Nelson.

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Aligning behind Benson’s commanding, deep voice and impeccable song-historian’s taste, Asleep at the Wheel has managed what few bands in country music — or any genre — have: Keeping a talented, rotating band of mostly-acoustic players together from 1972 on, with little break from the road. Willie Nelson and others have long championed their work, and indeed the band has had fans in even higher places: on September 11, 2001, the group was set to perform at The White House.

Asleep at the Wheel’s story is really one of perseverance and transformation. How did a Jewish kid from the the Philly suburbs end up as a Texas cowboy music icon who toured with Bob Dylan and George Strait (just ask Bob about changing identities), wrote songs and acted in movies with Dolly Parton and Blondie, and became the foremost interpreter of the rollicking music of Bob Wills & His Texas Playboys? Only in America, you could say, but Benson would just tell you that he loves the music deep in his bones, and it’s what he wakes up every day to create and save.

One of the most forward-thinking things Benson did from the very beginning was share the mic with a myriad of talented female vocalists, which maybe confused some radio programmers (“Who is leader of this outfit?”), but made their road shows eternally entertaining and unique. That tradition continues. Also featured on the new record are lovely collabs with Lee Ann Womack and Emmylou Harris.

Photo credit: Mike Shore

The BGS Radio Hour – Episode 220

Posted on by Shelby Williamson

Welcome to the BGS Radio Hour! Since 2017, this weekly radio show and podcast has been a recap of all the great music, new and old, featured on the digital pages of BGS. This week we have John Prine’s final recording, a BGS exclusive performance from Americana duo Jackson+Sellers, a playlist in 3/4 time, personally curated by Dori Freeman, and much more.

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John Prine – “I Remember Everything”

The Americana Music Association was able to celebrate the works of its community in-person last week, for the first time since the beginning of the pandemic, with the 20th Annual Americana Honors & Awards held at the historic Ryman Auditorium. And one of the night’s biggest awards, Song of the Year, was given posthumously to none other than John Prine for his final recording, “I Remember Everything.” Watch below to see John perform the song himself, followed by a tribute from Brandi Carlile, Margo Price, and Amanda Shires at last week’s awards ceremony.

Martin Sexton – “Riding Through the Rain”

New York’s Martin Sexton spoke on performing at Madison Square Garden, his pre-show and pre-studio rituals, the influence of artists and performers from Black Sabbath to Looney Tunes, and more in a recent edition of 5+5.

Rod Gator – “Out Here in Echo Park”

Rod Gator wrote “Out Here in Echo Park” during his last year living in Echo Park, when every evening he’d walk down to the L.A. River and sit along the bank. Take a listen, and you might start missing Echo Park, too.

Jackson+Sellers – “Hush”

Jackson+Sellers’ debut album, Breaking Point, comes out next month, but until then, we’re listening to the song that brought the pair of songwriters together as a duo. Jade Jackson initially reached out to Aubrie Sellers about singing harmonies on a new song she had written, and the rest is history! On their partnership, Jackson says, “Collaborating with someone who’s so energetically strong, it gives you even more creativity and license to explore.” Watch the duo’s performance of “Hush” from our Yamaha Artist Sessions below.

Dori Freeman – “The Storm”

For a recent Mixtape, our friend and songwriter Dori Freeman crafted us a playlist celebrating waltzes –her favorite type of song — which always touch her heart in ways other songs don’t.

Kirby Brown – “Ashes and Leaves”

“Ashes and Leaves,” the latest from singer-songwriter Kirby Brown, is a meditation on acceptance: “Sometimes, we are the ones being left — by lovers, friends, family, etc. At other times, we are the leavers. Maybe this is one of the inevitable arrangements of life…”

Brad Kolodner – “Foggy Mountain Special”

Old-time musician and radio host Brad Kolodner was a recent 5+5 guest, speaking about his new album, Chimney Swifts, his earliest on-stage memories, the soul-nourishing experience of the Appalachian String Band Music Festival, and more.

Béla Fleck featuring Sierra Hull & Molly Tuttle – “Wheels Up”

No matter how far afield he may roam, with his new album our Artist of the Month Béla Fleck wants the world to know his bluegrass heart will always call bluegrass home. And this rip-roaring number is about as bluegrass as it gets. The studio recording features the talents of Molly Tuttle and Sierra Hull, while this live performance below features Fleck’s current all-star live lineup: Sierra Hull on mandolin, Michael Cleveland on fiddle, Mark Schatz on bass, Bryan Sutton on guitar, and Justin Moses on dobro.

The Barefoot Movement – “Back Behind the Wheel”

“Back Behind the Wheel” is ultimately a song about hope and the idea of letting yourself feel what you need to feel, but not allowing that to be the end of the journey. “When it comes to this, I don’t know what it means to quit…”

Tammy Rogers & Thomm Jutz – “I Surely Will Be Singing”

“I Surely Will Be Singing,” a new release from songwriter Thomm Jutz and The SteelDrivers fiddler Tammy Rogers, was written at the beginning of the pandemic, as a hymn to nature and to the spirit of human resilience in the face of adversity.

The Secret Sisters – “Dust Cain’t Kill Me”

A new Woody Guthrie compilation from Elektra Records isn’t just a tribute album, it’s a reimagination. Home in this World: Woody Guthrie’s Dust Bowl Ballads features a host of compelling modern artists — like John Paul White, Colter Wall, and Chris Thile – offering their takes on Guthrie’s seminal Dust Bowl Ballads. One standout is The Secret Sisters performing “Dust Cain’t Kill Me.”

With such passion at the heart of it, Home in This World brings new life to music that has shaped American culture in the 20th and 21st centuries. “Woody Guthrie’s Dust Bowl Ballads is as relevant as ever,” producer Randall Poster states. “While profiteers exploit our natural resources, there is a growing sensitivity to the harsh farming practices that put our well-being at risk, and a concerted movement toward regenerative agriculture that can reinvigorate the soil and push back on climate change. I asked some of my favorite artists to help render these songs, hoping that this collection will reinforce the enduring power and prescience of Guthrie’s music and reveal the power of song.”

Caleb Lee Hutchinson – “I Must Be Right”

Caleb Lee Hutchinson teamed up with Trey Hensley on a new song, “I Must Be Right,” as he tells us: “I have been a fan of Trey for quite some time and was very excited to write with one of my favorite guitar pickers… It’s one of my favorite songs I’ve ever written as a result.”

Abby Posner – “Low Low Low”

Los Angeles-based musician and songwriter Abby Posner is joined by Constellation Quartet on a new video for “Low Low Low,” a beautiful, contemplative song about depression, anxiety, and learning how to live with the darkness within.

Colin Linden – “Honey On My Tongue”

“Roots music and blues do speak to a lot of people right now. Much of the healing and release you get from listening to this music… has shown itself to be so vital in these times… I hope the memories of every soul who has loved and been loved are like honey on our tongues,” says Linden of his track, “Honey on My Tongue.”

Photos: (L to R) Dori Freeman by Kristen Crigger; John Prine by Danny Clinch; Jackson+Sellers by Ashley Osborn

LISTEN: Angus Gill, “The Scrapbook”

Posted on by Editor

Artist: Angus Gill
Home: New South Wales, Australia
Song: “The Scrapbook”
Album: The Scrapbook
Release Date: September 24, 2021
Label: Rivershack Records/MGM

In Their Words: “My Nan has diligently collected every newspaper article or clipping about me that has ever gone to print and often saved multiple copies of each one. She’s said to me for years that she wants to put them all into a scrapbook and gift it to me. She started to compile the scrapbook shortly after her Alzheimer’s diagnosis, but in the middle of putting it together, we had to make the difficult call to move her into a nursing home. She promised she would finish it and several months ago, she actually managed to, which was beautiful. I saw a pretty poignant idea in this story, which I told to my friend Bill Whyte and we wrote ‘The Scrapbook’ shortly after. Nan’s not doing great at the moment, but it’s very special to me to have this song on the record as the title track. It sums up this collection of songs well because there are a lot of personal snapshots of my life on this album.” — Angus Gill

Photo credit: Jackson James

LISTEN: Jeremy Pinnell, “Goodbye L.A.”

Posted on by Editor

Artist: Jeremy Pinnell
Hometown: Southgate, Kentucky
Song: “Goodbye L.A.”
Album: Goodbye L.A.
Release Date: October 1, 2021
Label: SofaBurn Records

In Their Words: “Goodbye L.A. was a special situation. I was introduced to Jonathan Tyler through a mutual friend and I was a little nervous about making a record with Jonathan. But we took a leap of faith and and found out it was the best thing we could’ve done. The feeling of excitement was present in the studio. New songs, new ideas flowing in and then hearing the playback was such a positive experience. I’m excited for people to hear these songs we wrote mostly from being on the road and I hope they enjoy it as much as we enjoyed making it. We’ve worked really hard to make this album. Long hours, hardly any pay, and many nights away from home make this album what it is.” — Jeremy Pinnell

Photo credit: Melissa Fields

MIXTAPE: Staci Griesbach’s Great American Songbook of Country Music

Posted on by Editor

The Great American Songbook of country music is a vast terrain to cherish and celebrate. So vast, in fact, that to narrow it down into one playlist of favorite “picks” is an incredible challenge! That said, I’m sharing here a selection of songs that are some of my all-time favorite lyrics and melodies. (The kind of songs you’d take with you to a desert island.) When you look through this list, it is no doubt that you’ll agree: each one of these songs rightly deserves its space in the pages of 20th century American music history for the mark the songwriters and the musical icons performing them have made. The generations these songs have touched (and hopefully will continue to touch)… the audiences moved by performances, in some cases to tears… all from the impact of a single song. Amazing!

As I hope to do with my Songbook series of recordings, my artistic path honors these songwriters and musical icons in reimagining these songs in a new way, offering an inspired interpretation of some of these classic songs (as you’ll see below). I hope you enjoy a slice of what I like to call “My American Songbook.” — Staci Griesbach

Dolly Parton – “Coat of Many Colors”

Dolly Parton’s “Coat of Many Colors” celebrates its 50th anniversary in 2021, and in my mind, there may be no more perfect storytelling song with a purpose in all of country music. Through the lyrics, Dolly approaches some important underlying themes in her message with this song. From humble beginnings to the love of a mother to encouraging self-talk and faith to the discussion of bullying, this song is so inspiring no matter where you live or what your upbringing was like. Coupled with her incredible human compassion and all she does with her celebrity to make the world a better place, Parton continues to be awesomely inspiring. For my interpretation, we played up the whimsical nature with the Joseph and the Amazing Technicolor Dreamcoat reference to also celebrate Dolly’s immense talent in the Broadway space. Fun fact: I was once “Narrator” in the musical production, so there’s a special sort of kismet connection!

Willie Nelson – “Blue Eyes Crying in the Rain”

When a song is recorded by Hank Williams, Roy Acuff, Willie Nelson, and probably hundreds of other artists, you may wish your name was songwriter and country music legend Fred Rose. Willie Nelson’s voice and this song pair so well for me. It’s his renditions — especially the live acoustic ones where he brings the tempo down — that are my favorite.

Patsy Cline – “Crazy”

If you’re going to do a playlist about country music standards, then this one has got to be on the list and perhaps top the list. As the most-played jukebox hit in history, the combination of Willie Nelson’s pen and Patsy Cline’s voice makes for a combination that never gets old.

Merle Haggard – “That’s the Way Love Goes”

Merle Haggard could sing the phone book to me, and I’d fall in love. This classic Haggard tune shows off some of his trademark moves, hitting the low notes with a sense of natural charm that could arguably make any gal swoon. His influence from Lefty Frizzell, who penned the song and had a strong arm in shaping many of country music’s early male voices in terms of style, is clear.

Anne Murray – “Could I Have This Dance”

I’m a sucker for a country waltz and the romantic in me gets caught up in this lyric every time I hear it. While the vocal is more modest in range and dynamic, it’s the sweetness of the tune that makes it feel like you’ve just put on your favorite winter sweater and nestled up to the fireplace.

George Jones – “He Stopped Loving Her Today”

Classified by many as the greatest country song of all time, it’s an exemplary tale of great songwriting paired with incredible talent. The song, the lyrics, and the vocal performance George Jones gives in this tear-stained ballad can’t possibly leave a dry eye in the room, no matter how many times you’ve heard the recording! This was the first song we tackled for my album celebrating Possum’s 90th birthday, and I was thrilled when songwriter Bobby Braddock shared his praise. In my cover version, arranger Jeremy Siskind arguably created a stage for this song to really sit in a spotlight it has never been in before.

Ernest Tubb – “Waltz Across Texas”

Listening to this song play as a young girl, I used to dream of being swept off my feet in love someday, filled with the imagery of waltzing across a big ballroom with someone serenading me. When Ernest Tubb calls out his band members, it feels like you’re right in the room listening as they’re playing. I’ve always enjoyed his iconic characteristics in his sense of showmanship.

Patsy Cline – “Walkin’ After Midnight”

Several songs in Patsy Cline’s catalog can be called standards in country music and this is one of them. A favorite for many girl singers who adore her, Patsy’s swagger comes through in her bluesy vocal performance adding just the right touch of cry to connect us with her desire for finding love. For my cover version, also from arranger and pianist Jeremy Siskind, the song offers more of a meditative groove creating a moodiness that implores a sense of searching matching the lyrics with a more internal reflection.

Ray Price -–”Make the World Go Away”

The great Hank Cochran had a way with songwriting and that’s no secret. One of my favorite songwriters in Nashville history. His songs create a lasting impression, especially this one recorded by Eddy Arnold, Elvis Presley, Martina McBride, and the late great Ray Price.

Tammy Wynette – “‘Til I Can Make it On My Own”

When you put Tammy Wynette, George Richie, and Billy Sherrill in a room, you know a hit song will find its way out of the door. Wynette’s performance is simply stunning here, and this song really showcases her dynamic range as a vocalist. I also really enjoy Martina McBride’s cover on her standards tribute album.

Merle Haggard – “Today I Started Loving You Again”

The poetic nature of Merle Haggard’s catalog cannot be questioned, and while he’s known as the poet of the common man, it’s his love songs that have me right in the palm of his hand. Penned along with Bonnie Owens, this song might top the Haggard catalog for me.

Dolly Parton – “Here You Come Again”

Only recently I became aware that this song was written by the great Cynthia Weil and Barry Mann. I’ve always associated the song with Dolly, and with her incredible songwriting prowess, it was a natural assumption. This is definitely one of my favorite songs in Dolly’s catalog. For my cover, which is the flip side of my Digital 45 with “Coat of Many Colors,” Jeremy Siskind and I explored a ballad context to really bring out the emotional quality of the lyrics and the feelings that bubble up when you’re so in love with someone and forget for a moment that they’re not good for you.

Hank Williams – “Cold, Cold Heart

There’s a lure around Hank Williams like no other in country music. And it’s no surprise when you listen to Williams’ catalog why George Jones and so many others looked up to and tried to emulate Williams at the beginning of their careers. A true country music standard for its number of covers (including Tony Bennett), I’m a huge fan of Norah Jones’ performance.

Patsy Cline – “Lonely Street”

From Kitty Wells, Melba Montgomery, and Emmylou Harris to Ray Price, George Jones, and Tammy Wynette, this song has been recorded many times over. While Andy Williams’ version might have hit the highest notes on Billboard’s charts, it’s Patsy Cline’s heartache-filled performance that is my favorite version. There were a few of her classic hits that didn’t make my tribute album and this one might top that list.

Kris Kristofferson – “Help Me Make it Through the Night”

The stories of Kris Kristofferson and Bill Withers have always touched me in the fact that both of them were working everyday jobs (sweeping floors and working at an airplane parts factory respectively) when their demos catapulted them into the spotlight. I’ve seen Mr. Kristofferson perform this live a few times and my heart melts every time.

Photo credit: Kim Thiel